By Dr Tony Monda

“I AM the great Shona sculptor Ndandarika – who are you”?
Those were the words spoken to me by the late Joseph Ndandarika in 1989, when I was assigned to interview him for a feature article in the now defunct Artist Magazine Zimbabwe, a year before he passed on.
He was a slightly built man full of humour, with the poised confidence of a successful businessman. Despite his diminutive stature, he had an unmistakable presence of authority.
Always sartorially turned out, in formal designer suits, Ndandarika had a certain urbanity that belied his profession of a stone sculptor, most of whom wore overalls, usually covered in the dust.
Born in Harare in May 1940, Ndandarika grew up in Mutare where he went to school until Standard Six.
Here, he showed great talent in drawing, painting and carving at the Old Umtali (Mutare) Mission School.
He also developed his skill for clay moulding following in the footsteps of his grandmother who made clay pots for brewing traditional beer.
The grandson of a highly respected n’anga, Ndandarika spent some time as a neophyte, training to become a young traditional healer — prior to becoming a professional visual artist.
He was a Roman Catholic, but later converted to his traditional religion.
He began sculpting in 1960 in the studio of fellow artist, his mentor, Joram Mariga in Nyanga.
In 1961 Joseph Ndandarika returned to Harare and was encouraged to continue with his painting and sculpture.
He joined Frank McEwen’s Workshop School at the National Gallery in Harare in 1962, beginning as a painter before moving on to sculpture.
Frank McEwen described Joseph Ndandarika as: “a great and universal genius who worked fluently in every possible medium.”
Having been apprenticed to a n’anga in his youth, his early works showed influences of the conviction of his traditional beliefs and their reality.
His spiritual convictions were reflected in his artworks.
Ndandarika derived inspiration from Shona traditions and culture.
His themes were taken from Shona tradition and history, while other contemporary subjects alluded to the liberation struggle.
He also drew extensively from dream imagery which he transmuted into stone in simple body gestures.
Some of his sculptures were rendered in postures such as ‘kupfugamira vakuru’ (genuflecting in respect.) ‘kutyora mizura’, ‘kuombera’, and so on – all reflecting the cultural body gestures and postures of traditional Shona etiquette .
He was known for his impressive, narrative figurative sculptures that embodied physical depictions and descriptions of Shona people, animal life and the Shona belief system.
The supernatural was also an important theme in his work.
However, not all his work, was based on traditional beliefs and mystic; many depicted everyday life, the bonding between man and animal, friendship, love, maternal and filial bonding.
Throughout his vast creativity and output, Ndandarika was always searching for new themes and new postures to articulate African culture and traditions.
Following Zimbabwe’s independence in 1980, his output became prolific.
He became one of the most financially and artistically successful artists for a decade until his death in 1991.
In his formative years, he ran a studio in Hatfield where he employed and mentored many young aspiring artists.
His works always radiated with a finished sheen, elegance and perfection.
He was very particular in the finish and presentation of his work – a trait that distinguished him among his peers and placed him in high esteem with collectors, gallerists and art connoisseurs.
Ndandarika’s art had been highly influential.
This can still be seen in the works of several younger artists of the following generations for whom he served as a teacher and mentor.
He participated in many group exhibitions locally and in Britain, France, Australia, the USA, South Africa and Zambia.
He has had many works purchased by museums and private collections around the world.
Some of his early classic pieces are in the National Gallery of Zimbabwe’s permanent collection.
Some of his awards and achievements include:
l 1981 — Second Prize, Annual Nedlaw Exhibition, National Gallery of Zimbabwe l 1985 — Highly commended, Annual Nedlaw Exhibition, National Gallery of Zimbabwe.
l 1983 — A work by Joseph Ndandarika depicted in a stamp issue of Common wealth day, March 14, Commemorative Stamps, PTC, Zimbabwe.
l 1986 — Award of Merit, Zimbabwe Heritage Exhibition, National Gallery of Zimbabwe.
Dr Michelina Andreucci in 1990 described Ndandarika as a perceptive visionary who recognised the importance of preserving his culture in stone.
“His art has the classicism of timeless universal figurative sculpture which can be read and easily deciphered today,” said Dr Andreucci.
“It delves into the deepest recesses of our unique African memory, and instills in our indigenous society a cultural identity, a meaning, sense of self.”
Former Deputy Minister of Education and Culture, Gabriel Machinga in 1993 wrote in a speech: “Ndandarika’s art expressed the unique view of ourselves and indeed our world view.
“His art embraced our concepts of religion, morality, family and community.”
Through his work, Joseph Ndandarika reminds us that traditional beliefs of the Shona people have never altered, nor have they been re-thought, modified, or removed from their original, traditional matrix to suit the needs of the urbanised Shona.
Our traditions are still relevant today.
Art Consultant, artist and lecturer Dr Tony Monda holds a PhD. in Art Theory and Philosophy and a DBA (Doctorate of Business Administration) in Post-Colonial Heritage Studies. He is a writer, art critic, practicing artist and Corporate Image Consultant.
For Comments, e-mail: tonym.MONDA@gmail.com
Young Joseph Ndandarika at work sculpting at the National Gallery Workshop School in 1962.